Debra Spark |
Debra Spark is the author of three novels and an essay collection, and the editor of the anthology 20 Under 30. Her most recent book is a novella and short story collection, The Pretty Girl. She teaches at Colby College and Warren Wilson College, and lives in North Yarmouth, Maine.
Q: Your most recent book, The Pretty Girl, focuses at least
in part on the role of art in your characters' lives. Why did you choose that
as one of the book's themes?
A: In some ways, the focus on art is pure accident. I wrote the stories in The Pretty Girl over
the course of ten years and only pulled them into a collection five years after
I finished the last story. So I never had
a unified notion about the work. When it
was done, however, I saw there was this pattern: all the stories circled around art and
deception.
As to why art became a preoccupation in the work rather than
something else, that’s simply related to my autobiography. The fiction writer Lorrie Moore once said
that the relation between events in “real” life and fiction is a bit like the
relationship between items in a kitchen cupboard and cake. The cake doesn’t equal what’s in the
cupboard, but it is made up of those things.
In the kitchen cupboard of my life, there is a lot of art,
and there are a lot of artists. I am
married to a painter. Many of my friends
are artists of some stripe. My parents
and grandparents were great appreciators of the arts, and we offspring have proved
to be the same. Still, I don’t aim to
write autobiographical fiction. When I
use art and artists in my life, I try to do so in such a way that I end up with
cake … and not baking soda.
Q: You edited a compilation, 20 under 30, when you were 23
years old. How did you select the authors to include in the collection, and
what has the book's impact been over the years?
A: The anthology 20 Under 30 started with a story I admired
by a fellow classmate in college. When I
went to grad school, I found some more work by fellow students. Then I started asking writers to recommend
young writers to me. I wrote to some
writers to ask for names. I asked for
names from those I met at grad school.
Once I found one writer for the anthology, I asked him or her to suggest
other writers.
Sometimes I’d read a
story I liked in a literary magazine, and the bio in the back of the magazine made
me think the author might be under thirty, so I wrote the writer directly and
expressed my interest and asked their age.
This often backfired. I got more
than one “Contact me when you do sixty over seventy!” responses.
The anthology sold well back in 1986, and over the years
many writers and readers have told me how important the book was to them. Recently, though, I went to a literary
conference, where a man read a piece of his that was included in The New
Yorker’s 20 Under 40 anthology.
I
mentioned that I’d put together an anthology with the same name (if a different
number), a quarter of a century earlier.
He didn’t believe me. A writer
friend was with me, and she said to him, “It’s true. It was a big deal!” But he still didn’t believe me! So perhaps that’s the story of the impact the
book has had through the years!
Q: You also have written three novels and a book of essays
on writing. Do you prefer writing novels, short stories, or essays?
A: I like them all equally, I think.
Q: As a professor, what do you focus on with your students
when it comes to creative writing techniques?
A: Sometimes I’ll be at a party and someone will say, “Oh,
but do you really think you can teach writing?” and I wonder what I am supposed
to say. “No, but lucky me, I got someone
to pay me to do it nonetheless”?
There
is a serious answer to the question, though, which is that you can’t teach
someone to have an imagination, but you can help people access their
imagination. And you can teach some
things. You can teach elements of craft,
which is maybe what you are asking when you ask about technique. In an introductory fiction writing class, I
teach standard topics—character, point of view, plot, dialogue.
With advanced undergraduates and graduate
students, the craft topics are really as wide-ranging as fiction itself. My most recent graduate student talks have
been on humor, suspense, magnitude, and revision. I have in mind to do a new lecture on how to
craft an extended scene and another on how to use “journalistic” research in
fiction.
Q: What are you working on now?
A: I am working on a novel called Unknown Caller, and it
begins with a surprising middle-of-the-night phone call then moves backward in
time to tell the story of a brief troubled marriage and the far-ranging
consequences of that marriage. The novel
starts in Maine, but then goes to London, Paris, Barbados, and a few other
places before resolving.
Q: Anything else we should know?
A: Anything else? Oh,
goodness. Well, years ago, I was marking
up a graduate student story at the kitchen table. I had to leave my desk to do something. When I came back, I saw that my son (who is
now 13) had scribbled, “Needs more kung-fu action” in the margins of the
story. Now my son doesn’t advise me
about my students’ work. He advises me
about my own. He keeps telling me my
novel-in-progress needs an explosion. My
novel actually has an explosion. When I
tell my son this, he says, “Well, then, it needs two.” This is the literary advice that I am
considering at the moment.
--Interview with Deborah Kalb
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